Delaney & Bonnie
NTSC dvd with 3 chapters on the menu
Bremen, 26 Nov 69, Beat Club TV show
"Poor Elijah" (Tribute to Robert Johnson)
Copenhagen, 12 Dec
69, Falkoner Theatre
"Poor Elijah" (Tribute to Robert Johnson)
"I Don't Know Why"
"Where There's a Will (There's a Way)"
"Specializin'"
"I Don't Want To Discuss It"
"That's What My Man Is For"
"I'm Coming Home (To Your Love)"//cut finish
Derek & The Dominoes,
Nashville, 5 Nov 70, The Johnny Cash TV show
"It's Too Late (She's Gone)"
Johnny Cash intro ->"Matchbox" [w/ Johnny Cash and Carl Perkins]
Delaney Bramlett (Guitar, Vocals)
Bonnie Bramlett (Vocals)
Eric Clapton (Guitar, Vocals)
Dave Mason (Guitar)
George Harrison (Guitar)
Bobby Whitlock (Organ, Vocals)
Carl Radle (Bass)
Jim Gordon (Drums)
Jim Price (Trumpet)
Bobby Keys (Sax)
Rita Coolidge (Vocals)
Tex Johnson (Percussion)
return to audio
cdrs
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Notes: This is an extraordinarily
rare document, representing a critical moment in rock
music history. Read on you'll see why ;-D
Delaney & Bonnie [along with the much less-remembered Mylon LeFevre]
introduced the then-VERY alien spirit of revivalist ministries to white rock
-- a fusion which had been achieved on the black side by Little Richard in
the 50's and Aretha in the 60's, but had not, at least as of 1969, crossed
over into the mainstream white audience. Hearing Delaney & Bonnie
and friends on the radio a year after this video was shot [and the subsequent
Atlantic album was released] was a revalation to many of us white folks.
Soul singers in the finest of traditions,
Delaney gave an entirely new interpretation of songs that heretofor had been
the domain of others. Bonnie -- mother of recent Fleetwood Mac
alum Becca -- will be a suprise to those who have never seen her, or might
only know her from her rare appeareances on the Roseanne TV show. Back in
the day, Bonnie was in the same private club as Aretha, Janis.
Clapton, having survived the media overhypered 'superband' fiasco of Blind
Faith, hooked up with this extraordinary live band fronted by Delaney &
Bonnie, as did his friends George Harrison & Dave Mason They were also
both alums of Hendrix's sessions and 'secret recording dates'. That ought
to give you an idea of how important these D&B sessions were!
Rumor has it ath the
Quiet One himself George Harrison just happy to be one of the band. After a Royal Albert Hall concert in Feb
69 (w/o Harrison), George was supposedly so impressed with Delaney that he
gave him his "Let It Be" Telecaster and joined the band for the rest of the
UK and Denmark tour. Delaney can be seen playing that guitar in the Copenhagen
portion of this video. [Bramlett sold the guitar at auction in Sept 2003 for $434,750.
It was bought by Ed Begley Jr. on behalf of Olivia Harrison and the Harrison
Estate.]
After London, D&B&F
all went on from there to Scandinavia & Denmark and ended the tour with
3 nights (Dec 10-12 69) in at The Folkoner Theatre in Copenhagen, the last
night of which was videotaped and is on this dvd.
Before 1970 was out, EC had poached the best part of the D&B band. Who
knows how this stuff happens? Did D&B got too big for their britches?
Regardless, the moment passed. This critical D&B
influence on Clapton's playing -- indeed his entire 'persona' -- is manifested
in its raw glory on the Johnny Cash TV clips which conclude the DVD. Eric
has abandoned his Gibson for a Fender and has irrevocably passed through
a stragic moment in his direction as an artist. Amazing and revelatory video
if you are a Clapton fan of any stripe. D&B gave Clapton an anchor for American
tastes. Delaney produced Eric's first [and arguably finest] solo LP. Eric
was very generous in crediting Delaney as his vocal 'coach' and inspiration.
So in large part, Clapton today is very much a product of his D&B days.
But all of that is unimportant now.
This is a document of unforgettable -- if naïve -- brilliance. But
please - don't take MY word for it: jump directly to Chapter 7 ["That's What
My Man Is For"] and see the proof for yourself. It is an incredible slice
of history.